Kant believed art’s beauty can be a universal language. Art and aesthetics are very closely linked in Kant’s view of art. The universal validity of subjective taste is seen as problematic in many cases, especially in modern art. Yet, Universal Beauty could still be a valid theory in certain artworks, such as many of Claude Monet’s paintings. In the featured painting, Sea Study (1881), we can see an example of a universal subjective judgement of taste. It is a disinterested, beautiful aesthetic piece of art that reflects the beauty of nature. The beauty of nature is related to the beautiful, not the agreeable, as with the agreeable it is not expected that everyone would find that sensuous experience beautiful. Yet with the beauty of nature, there is an assumption made when an individual sees this beauty, that this beauty is universally recognisable.
What makes this painting, The Water Lilly Pond (1899), so famous, and so instantly and universally recognisable as beautiful art? The colours and domination of nature in this painting not only reflect the beauty of this scenery, but actually enhances the experience. Monet’s use of strokes, colour and artistic techniques creates more than just a visual experience for the viewer. Instead, there is an all-empossing aesthetic experience of nature. Monet’s style communicates the movement and atmosphere of this natural scene, making this experience not only visual, but an experience that captures all of the senses. Perhaps this is the beauty of nature that is found so universally pleasing.
Impression, Sunrise (1872)
When we gaze at a sunrise or sunset, we are experiencing more than solely visuals. Perhaps this sensuous, aesthetic experience is what causes nature to be one of the only things that can still be considered universally beautiful. Monet’s ability to reflect and enhance these sensuous experiences in his artworks are what make his artworks so famous, and so universally recognisable as beautiful.
PHL250 Aesthetics Journal 